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David Poland

By David Poland

Sunday Estimates by Klady

CORRECTION: Apparently, Len missed updating the Spider-Man 3 gross for the weekend… the current estimated total should be $282 million. Sorry for the error.

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36 Responses to “Sunday Estimates by Klady”

  1. brack says:

    Spider-Man 3’s cume is about $30m short.

  2. abba_70s says:

    While sitting through Shrek 3 I was reminded of more movies that should have stopped at one: The Matrix, Back to the Future, Jaws..any other suggestions?

  3. Eddie says:

    Police Academy.

  4. Hallick says:

    “While sitting through Shrek 3 I was reminded of more movies that should have stopped at one: The Matrix, Back to the Future, Jaws..any other suggestions?”
    Tremors, El Mariachi, A Nightmare on Elm Street, Hellraiser, Breakin’, Friday, Harper…
    The only exceptionally good third movie in a series I can think of right now is “A Clear and Present Danger”, which followed “Patriot Games” and “The Hunt for Red October”. And it’s also significant for overcoming the rather weak “Patriot Games”.

  5. Dr Wally says:

    Jurassic Park should have stayed at one. Possibly Pirates of the Caribbean but let’s see what the third movie is like. Oh and Hallick, most would consider Goldfinger, Return of the King, The Last Crusade, Return of the Jedi to be great ‘third movies’.

  6. jeffmcm says:

    I thought Revenge of the Sith was substantially better than its two predecessors.

  7. EDouglas says:

    “I thought Revenge of the Sith was substantially better than its two predecessors.”
    But isn’t that kind of like getting socked in the groin three times and actually building some sort of tolerance before the third hit? (This is my excuse for liking Spider-Man 3)

  8. ManWithNoName says:

    Crazy comments in here today. Back to the Future 3 is excellent, and Hellraiser 2 is a great B-horror flick. Nightmare 3-5 were pretty solid (by B-movie standards), and New Nightmares was quite enjoyable.
    My nominations would be Caddyshack, Death Wish, Ocean’s Eleven (remake).

  9. anghus says:

    Box Office Mojo has Spiderman 3 at 281 million

  10. Hallick says:

    “Oh and Hallick, most would consider Goldfinger, Return of the King, The Last Crusade, Return of the Jedi to be great ‘third movies’.”
    I think “Goldfinger” is coasting on an old reputation and an iconic image. “Dr. No” holds up pretty damn well, but I didn’t think “Goldfinger” came anywhere close.

  11. Tofu says:

    Death Wish 3 is the one that made series worth remembering:
    Jurassic Park 3 & Terminator 3 were just camped the hell out, and lost the great high-quality B-movie-taken-serious aesthetics of their prior installments. Chock that up to going from two legendary directors to the lowest bidder directors.
    Did we really need so many Beverly Hills Cop movies?
    One I admit to dying for is Ghostbusters 3. Old cast. New cast. Whatever. We’ll likely see Men in Black 3 before any ghost busting comes from that studio again.

  12. Jimmy the Gent says:

    RoboCop didn’t need any sequels.
    Jaws 3 is a definite improvement over 2. (“What are you sayin’ about some damn shark’s mutha?”)
    Cronenberg’s The Fly didn’t need a sequel.
    Return of the Living Dead didn’t need any sequels.
    Superman III is underrated.
    Kiss the Girls didn’t need a sequel.
    Dirty Harry could’ve stopped after the first one. The only good sequel is The Dead Pool.
    I’m actually looking forward the prequel to The Untouchables.
    We didn’t need Escape From L.A. A sequel to Big Trouble in Little China could still possibly work, though.
    The Karate Kid III is a definite come-down after I and tue surprisingly affecting II.
    I would’ve loved a sequel to Dreamscape.
    Real Genius could have a fun sequel. Val Kilmer’s Chris Night comes back as a professor could providee a lot of fun possibilities.
    Sequels are best when they continue a story that you thought didn’t need continuing. That’s why I would love to see a sequel to Taxi Driver. The mind boggle at what Travis Bickle has been up all these years. Has he assimulated into Rudy’s New York?
    That’s why I’m excited about the prospect of Wall Street 2. That could be the Enron story. I only hope Stone signs up, too.
    I’m one of the few who thought an actual sequel to The Graduate might’ve worked.
    An adult sequel to Big would’ve been interesting. In the age of Mary-Kay LaTouron it would’ve been fascinating to see an 18-year-old version of Josh Baskin track down his one true love.
    I still have hope for the final Jake Gittes movie.
    I actually liked Texasville. It’s not perfect, but it has its moments.
    I’m a BIG defender of Godfather III. It’s flawed, but it still stands head and shoulders above most films from 1990.
    Jonathan Mostow is a terrific action director. Breakdown is a compact masterpiece of late-’90s action directing. His T3 was as good as anyone could’ve expected under those circumstances. I would wager that the producers and Arnold didn’t allow him much room to do his own thing. They didn’t treat him as bad as Fox treated Fincher on the underrated Alien3, but they didn’t treat him like Cameron either.
    I have a feeling we’re going to be regretting Live Free or Die Hard, especially if it’s PG-13.

  13. RudyV says:

    I absolutely loved “The Future” in BACK TO THE FUTURE 2, but revisiting the dance got rather tedious. (Yeah, we know the whole idea of a sequel is to remake the original, only better, but to do it so literally? Oy.) It was rather nice to see, however, that there was foreshadowing aplenty in #2 about #3, and continuity was strictly maintained.
    Probably the most sensible time-travel movies ever made.
    You kinda wonder, tho, why someone didn’t tap Spielberg on the shoulder and break it to him that JURASSIC 2 was turning into a remake of De Laurentiis’ KING KONG.

  14. ManWithNoName says:

    Jimmy — absolutely agree about Breakdown. I remember plucking down 7 bucks to see that alone in a packed theater one weekend, and everyone was on the edge of their seat. Gotta love Kurt Russell (his resume is truly remarkable — probably not the box office draw of a Harrison Ford, but just as many great flicks) and JT Walsh. I remember my jaw dropping when it looked like Quinlan was dead — they didn’t go there, but it’s a credit to Mostow and the script that I thought they might.

  15. jeffmcm says:

    I agree that Godfather III is better than its reputation – yes, it’s often a mess, but when it’s good it’s very good.
    Goldfinger is the best Connery Bond movie, as well.
    But, the heavy foreshadowing of Back to the Future III in part II was pretty annoying and dopey.

  16. RudyV says:

    But what would have been worse–a little foreshadowing to tease the audience, or an entire film that made no sense at all until you got back in line to catch movie #3? At least BACK TO THE FUTURE 2 & 3 could stand on their own two feet, while MATRIX 2 & 3 and now PIRATES 2 & 3 are completely intertwined and dependent on each other. One big, long, confusing sequel, if you will.

  17. RudyV says:

    (…To offer a little background, when the lights came up after PIRATES 2 and my stepson asked what I thought of it, I replied that I wouldn’t know until after seeing #3.)

  18. jeffmcm says:

    I’m not sure what you’re saying – I agree that the movies should stand on their own, and BTTF2 would be better if it spent less time laying groundwork for BTTF3.

  19. I enjoy Back the the Future II, but not III. The Godfather part III is a mess at times, but that opera sequence is amazing (except Sofia’s death, of course).
    As Jimmy said, I was gonna mention that Jonathan Mostow, I though, handled T3 about as good as could be expected. There were a few really great action sequences in there and I give props to any movie that, essentially, brings about the end of the world. And, yes, Breakdown is terrific and while I haven’t seen that U-boat movie apparently that’s quite good also.
    To whoever said Breakin’ didn’t need a sequel, I say it did purely so we have “Electric Boogaloo” in our culture.
    (amazing how nobody is discussing Shrek 3)
    (does anyone know of has become something else already or if it’s just in limbo right now?)

  20. ManWithNoName says:

    It’s been a while since I’ve seen BTTF 2 — tell me more about the foreshadowing, because I don’t remember it being a big deal. I remember the date thing on the Delorean being buggy, and Doc having to smack it to fix the date, but other than that I’m drawing a blank about the heavy foreshadowing?
    Overall, though, I agree Rudy. I love how all three BTTF movies have standalone stories, with 1 and 2 ending on a cliffhanger that occurs after the film’s main storyline has been resolved, so you didn’t waste 2 plus hours watching a preview for part 3.
    Kamikaze — seriously? BTTF 2 over 3? To each their own, but I love 3 almost as much as the first.
    I just have no desire to see Shrek 3. I never felt the first Shrek was this great entertainment that surpassed the Disney animation greats (like many critics claimed). It was fun, but most Disney flicks run circles around it.

  21. jeffmcm says:

    That was the biggest problem with Pirates 2 for sure – they should have provided _some_ kind of narrative closure and self-containment instead of it all being setup for Pirates 3.

  22. Jeffrey Boam's Doctor says:

    I would also agree that BREAKDOWN is as close to a perfect film that you’re going to get out of Hollywood. Ever. Period. Mostow is perhaps the most underrated director working in the US today and I bet if his name didn’t sound like a commie city he’d be on oprah more often.

  23. jeffmcm says:

    Wow, I hate to say it, but your standards sound kind of low, JBD. More perfect than Casablanca? The Godfather? Citizen Kane? Vertigo?

  24. Jeffrey Boam's Doctor says:

    Casablanca/ Vertigo actually have faults. Breakdown is a perfect film – for what it is. And I mean that it hits every single note, delivers on the gold on script, performance and all tech areas and best of all on every promise it sets up. There’s not one second of screen time wasted. It’s not high art but thats not what we’re talking about – its truly without peer in contemporary Hollywood cinema.
    And yes I am being serious.

  25. ManWithNoName, I am not a fan of 3‘s western setting. The dayglo of 2 future was much more fun when I was a kid. But, granted, I haven’t watch the final two since I was about 12. THe first is still great though.

  26. SaveFarris says:

    The foreshadowing in BTTF2 include VegasBiff watching the Eastwood Metal-Plate-as-Bulletproof-Vest gag, Doc pining about living in the old West, the whole “Noone calls me a chicken” routine, and Marty being a “crack shot” at the Gunslinger video game. But IMHO it wasn’t “distracting” at all.

  27. Hopscotch says:

    A little late but I’ll second Texasville as an “acceptable” sequel. Not great, but then again the book it was based on wasn’t either.
    The Future sequels don’t work quite as well, because, and I’m totally serious, Back to the Future is probably the best structred screenplay ever written. It’s not shakespeare but it’s the best example of a three-act structure I’ve ever seen.
    Anyone else notice the staying power of “Fracture”? wtf is that about?

  28. jeffmcm says:

    JBD, I respect your audacity for your Breakdown argument, but I believe that (a) Casablanca and Vertigo are both almost flawless, and (b) While I remember enjoying Breakdown, I also haven’t found a need to see it a second time in the ten years since it came out, which to me is a sign that it’s not exactly a classic or ‘truly without peer’. I think that for a movie to be ‘without peer’ it should actually have an emotional arc that rises above the level of a theme-park ride, meaning that Breakdown is still inferior to such Hollywood movies as Jaws or The French Connection or (more recently) The Bourne Supremacy or Casino Royale.

  29. Hopscotch says:

    A magic switch that turns off the car. Riiiiiight.

  30. cjKennedy says:

    Hopscotch, I don’t know if you saw it, but Fracture wasn’t half bad. I’m guessing adults are going to it because there aren’t many other options.

  31. jeffmcm says:

    What magic switch?

  32. Hopscotch says:

    I have not seen Fracture yet, but I’m guessing you’re right because it’s holding on really well. I’m still shocked Hot Fuzz hasn’t done better I tell everyone it’s the most fun I’ve had in a theater in a long time.
    If memory serves, and I saw Breakdown late at night and on cable, wasn’t there some “switch” that turned off Kurt Russell’s car or something to that effect? If I’m wrong, don’t hesitate to correct me, but that’s what I remember.

  33. Stella's Boy says:

    I found Breakdown to be enjoyable and immediately forgettable. I started watching it years after seeing it in theaters and couldn’t finish. I don’t think it holds up on repeat viewings.

  34. Me says:

    I found Breakdown forgettable as I watched it the first time. I’ve never felt the need to watch it again.
    I buy the argument that a genre picture can be flawless, and pound-for-pound a more perfect film than some of the strongest dramas, but Breakdown seems like a stretch, at least imo. Jeff’s example of Jaws seems more fitting. Or Silence of the Lambs imo.

  35. Wrecktum says:

    To whoever said that Death Wish 3 was great…they’re right. Death Wish 4 is a perfect low-budget 80s action piece, too.
    To whoever said that The Dead Pool is the only worthy Dirty Harry sequel…are you insane???? Aside from the extraordinary trailer (which introduced Guns n Roses to mainstream audiences) the movie is balls. Both Magnum Force and The Enforcer are very good, by the way.

  36. Hopscotch, didn’t the bad guys cut one of the wires or something at the gas station while they weren’t looking. And so it broke down later down the road. I don’t believe there was a switch there.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon